The Quarterly: It sounds as though you think a lot about fear and how to counteract its corrosive effects.
Ed Catmull: Fear is built into our nature; we want to succeed and we respond physiologically to threats—both to real threats and to imagined threats. If people come into an organization like ours and they’re welcomed in, what’s the threat? Well, from their point of view, they’re thinking, “this is a high-functioning environment. Am I going to fit in? Am I going to look bad? Will I screw up?” It’s natural to think this way, but it makes people cautious.
When you go to work for a company, they tell you something about the values of the company and how open they are. But it’s just words. You take your actual cues from what you see. That’s just the way we’re wired. Most people don’t talk explicitly about it, because they don’t want to appear obtuse or out of place. So they’ll sometimes misinterpret what they see. For example, when we were building Pixar, the people at the time played a lot of practical jokes on each other, and they loved that. They think it’s awesome when there are practical jokes and people do things that are wild and crazy.
Now, it’s 20 years later. They’ve got kids; they go home after work. But they still love the practical jokes. When new people come in, they may hear stories about the old days, but they don’t see as much clowning around. So if they were to do it, they might feel out of line. Without anyone saying anything, just based on what they see, they would be less likely to do those things.
Meanwhile, the older people are saying, “what’s wrong with these new people? They’re not like we were. They’re not doing any of this fun stuff.” Without intending to, the culture slowly shifts. How do you keep the shift from happening? I can’t go out and say, “OK, we’re going to organize some wild and crazy activities.” Top-down organizing of spontaneous activities isn’t a good idea. Don’t get me wrong—we still have a lot of pretty crazy things going on, but we are trying to be aware of the unspoken fears that make people overly cautious. If you’re just measuring yourself by your outward success, then you’re missing a huge part of what drives people.
Source : https://www.mckinsey.com/business-functions/organization/our-insights/staying-one-step-ahead-at-pixar-an-interview-with-ed-catmull
Badzine: How do you choose the commercials you go for?
Lin Dan: First, I don’t choose a commercial only based on money issues. I must consider whether the product is suitable for me. Second, I don’t readily agree to do commercials for food or pharmaceuticals since people regard me as their hero and idol, and I must be responsible for them. That’s also the reason why I am so cautious in choosing products I endorse
Q: On how you raised in a middle-class home, transmits values to your kids:
Sachin: I think it has a lot to do with interaction. My father never told me what was right or wrong. He guided me, but most of the things I learned came from watching him. He never told me that I had to be humble, I just watched him [being humble himself] and I said, “This is how I want to be in life.”
The most important advice he gave me was when he said, “Most things are temporary, your cricket will also be temporary because at some stage you will stop. But something that stays permanently with you is your nature, the person you are. So try and be a good person. People will appreciate that even after you’ve stopped playing.” So I try and tell my children the same thing.
source : http://keepingscore.blogs.time.com/2012/05/09/ive-got-to-be-myselt-the-sachin-tendulkar-interview/
Q: Going off of that point about morality, there are a few characters in The Salesman who, in any other film, might be completely vilified or else deprived of the detail and humanity that other characters are afforded. How important is it to you that we feel empathy even for the characters who do despicable things in your movies?
IMAGE SOURCE : internet
AF: This is the most important goal that I have in my films. I was talking with my friends and I told them, “If you want to write something on my grave, it should be ‘empathy.’” I’m always working towards empathy, even with the characters who do wrong. Audiences usually put themselves in the shoes of the good characters. They never put themselves in the shoes of the person who has done something wrong. And there is no challenge when you put yourselves in the shoes of the good people. The films where characters are heroic and do lots of great things are satisfying and comfortable to audiences. But I want audiences to put themselves in the shoes of characters who have done something wrong. In order to do that, I have to create empathy for the character. And [the audience] can then ask themselves, if I were in his shoes would I do the same thing or not? And if I were to do that, what decisions would I make after that? This is kind of an excuse for the audience to make self-realizations. For example, in About Elly, the audience has to ask themselves, If I was one of those people who went on the trip, would I lie to the fiancé as well and say we didn’t know [Elly] had a fiancé? Could I lie like them or not?
Source : http://reverseshot.org/interviews/entry/2306/farhadi